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T’auras pas ta pomme L’Orkestre des pas perdus

… precise ensemble execution and spirited solos. Cadence, USA

Leader Claude St-Jean has succeeded in creating a new sound somewhere between fanfare marches, jazz-funk and avant-garde stylings. AllMusic, USA

Coming off like a cross between circus music and a antimilitary marching band, the Orkestre des pas perdus (Orkestra of Lost Steps) is here introducing their first CD, “T’auras pas ta pomme.” Claude St-Jean, a sliding trombonist, is behind the compositions and arrangements of this live, urban music, an hybrid of European and American influences.

To be filed under alternative brass bands, this uncommon formation refers to actual trends as much as timeless tricks, in order to create its own sound space. Highly peculiar compositions for brass and other metals (trombone, trumpet, 2 saxophones, sousaphone and percussion), tinted with jazz, funk and swing colors.

Make it your cup of tea.

T’auras pas ta pomme

L’Orkestre des pas perdus

Ivanhoe Jolicœur, Rémi Leclerc, Jean-Denis Levasseur

In the press

  • Milo Fine, Cadence, no. 23:2, February 1, 1997
    … precise ensemble execution and spirited solos.
  • Henryk Palczewski, Informator “Ars” 2, no. 20, January 1, 1997
  • LF, Megafon, no. 1, September 1, 1996
  • Jim Little, Hour, June 1, 1996
  • François Couture, AllMusic, May 3, 1996
    Leader Claude St-Jean has succeeded in creating a new sound somewhere between fanfare marches, jazz-funk and avant-garde stylings.

Review

Milo Fine, Cadence, no. 23:2, February 1, 1997

Infused with march, polka and circus materials, L’Orkestre’s Jazz-rock stage band persona is unapologetically upbeat. For the most part steering clear of any so-called modernisms the group relies on precise ensemble execution and spirited, if conservative, solos to get its point across; the essence of that point being nicely summed up in the closer’s broad reference to The Tiger Rag.

… precise ensemble execution and spirited solos.

Review

LF, Megafon, no. 1, September 1, 1996

Este primeiro registo de L’Orkestre des pas perdus, projecto assinado pelo trombonetista Claude St-Jean. of efece-nos o tipo de música que se pode ouvir com prazer nos dias em que não apetece lazer outra coisa a não ser preguiçar, junto de uma chávena de chá, por exemplo, numa festiva tarde de domingo. Por doze temas onde se cruzam variadas influencas desde o jazz e do funk até ao género de musica que se ouve nos circos e fentarras, sons originais jovialmente entrelaçados por um trombone, um trompete, dois saxofones, uma bateria e um sousafone, resultam num agradável conjunto de composições vivas e coloridas.

Spins

Jim Little, Hour, June 1, 1996

L’Orkestre des pas perdus is a kind of alternative brass (and reeds) band led by trombonist Claude St-Jean, with Jean Sabourin (sousaphone), Ivanhoe Jolicoeur (trumpet and flugelhorn), Paul Richer (tenor sax), Jean-Denis Levasseur (alto sax and piccolo), and Remi Leclerc (drums). All the tunes are by St-Jean, mixing elements of New Orleans jazz, burlesque, musique actuelle, and humour. An example of the latst shows up on the back cover in the three squares that normally indicate whether the recording, mixing, and mastering were analogue (A) or digital (D). Here the code is OPP. Musical highlights include the truckin’ groove of Déménagement, and the olio furnishings of La salle des pas perdus. 3/5

Review

François Couture, AllMusic, May 3, 1996

L’Orkestre des Pas Perdus’ first CD was released in 1996 on Ambiances Magnétiques, a label devoted to avant-garde music. T’auras pas ta pomme (the phrase itself means very little, it is used as an onomatopoeic expression for a drum roll) presented a very original recipe. Leader Claude St-Jean, a trombone player, has succeeded in creating a new sound somewhere between fanfare marches, jazz-funk and avant-garde stylings. The instrumentation of trumpet, trombone, two saxophones, sousaphone and drums can pack a lot of energy into four-minute tunes. Most pieces follow the fanfare-funk trail and, to some extent, are interchangeable: a groovy beat, a tutti riff, horn cues and solos. The music gets close to Maneige on La marche à Marie B. thanks to a very pied-piperesque piccolo melody. Elements of dissonance and free improvisation are integrated into La salle des pas perdus, but T’auras pas ta pomme is mostly one hot lick after another. The last piece, Acide cirque, takes the band sound’s into circus music. L’Orkestre des Pas Perdus’ follow-up album Maison douce maison will be more accessible and focused than this one.

Leader Claude St-Jean has succeeded in creating a new sound somewhere between fanfare marches, jazz-funk and avant-garde stylings.

More texts

Margen no. 8, Minimal no. 13

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